Casualties of Cool – Casualties of Cool

Inside Out Music

You wouldn’t think that Devin Townsend would go toe to toe with Americana. It’s hard to believe that he would put his intense wall of sound aside, which is something that could cut through the noise of a nitroglycerin proving ground, even if his tunage was coming out of a mere boombox. But we have remember his ballads and acoustic material have shown another side of him many times. This side is surprising on the country edge of things trading that sheet metal crashing sound in for the chugging rhythms of a choo choo train.

Certainly not something where you ask the question, “what sister, cousin, or uncle inspired that,” nor is it your typical modern day twangy Nashville soft rock as Casualties of Cool takes the rebellious spirits of both Hank Williams and Johnny Cash to execute fluid melodies with a tenacious vibe straight from one of Townsend’s brainstorms.

His poignant portrayal of classic country finds itself aligned with not only Townsend, but also singer Ché Aimee Dorval, who brings her personality aboard. Still you have that patented spacious reverb and synth pads creating a hallowed atmosphere, adding to the haunting elements that dominate the record; hearing this album is like walking through the streets of a dark, foggy and whiskey drenched city after closing time with the stale cigarette smoke still lingering through the mazes of buildings and alleys – the crowd has seemed to wind down, but everybody keeps wandering.

You can’t deny that there is a running groove throughout the record, after the needle drops, you realize that there is no cringing either. Tunes including the openers “Daddy” & “Mountaintop,” get the locomotive-a-rollin’ but its’ with the dark moments, “The Field” and “Bones” where you find yourself walking within a surrealist setting, almost like a lucid dream of something that involves the fear of the unknown. The album as a wholel makes a well rounded trip from the train station to the city streets to the sub-conscious mind.

There is a term that was invented by Texas singer-songwriter Molybden called spook-tonk, and that term pretty much sums up the whole sonic aura of the record. In the end, this record is not a mosh pit extravaganza, nor thankfully a Hee Haw hoedown either.

Copyright & Publishing: 2016 Tommy hash for Ytsejam.com

 

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